Consistently confounding expectations, Mukherjee’s story of the gathering descent of a solitary soul is both poignant and...
Historical and contemporary, lit with flashes of magic and violence, this intriguing novel offers multifaceted portraits of India and England as seen from the perspective of a clever, burdened misfit.
Released now in the U.S. after the success of his second novel, this prizewinning debut by Mukherjee (The Lives of Others, 2014) impresses with its fluid originality and ambition. Alternating chapters explore parallel narratives, one involving Miss Maud Gilby, an early-20th-century campaigner for women’s education in colonial Bengal, the other devoted to modern-day Ritwik Ghosh, who escapes from Calcutta via a two-year scholarship to a British university and then stays on beyond his visa to live in social limbo in London. Horribly abused by his mother, Ritwik abandoned India after his parents’ deaths but is now unmoored, with no religion or home, and is further marginalized by his homosexuality. Maud Gilby, meanwhile, turns out to be a minor character from fiction borrowed by Ritwik to feature in the story he's writing about India during a time of anti-British ferment, a tale of dislocated experience and exile mirroring Ritwik’s life. In London he descends into the gritty worlds of undocumented labor and prostitution, scenarios intercut with oddly tender episodes spent taking care of his landlady, an 86-year-old with a past in India whom he tends with a concern that he could never show to his own mother. Ritwik’s addiction to casual hookups draws him back repeatedly to the perilous yet thrilling sexual meat market around King’s Cross Station, where he will find an inverted salvation through his relationship with a shady foreigner but will also discover the price of apartness.
Consistently confounding expectations, Mukherjee’s story of the gathering descent of a solitary soul is both poignant and unsentimental, the work of a notably sophisticated writer.Pub Date: March 14, 2016
ISBN: 978-0-393-35210-8
Page Count: 384
Publisher: Norton
Review Posted Online: Feb. 17, 2016
Kirkus Reviews Issue: March 1, 2016
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.
The time is the not-so-distant future, when the US's spiraling social freedoms have finally called down a reaction, an Iranian-style repressive "monotheocracy" calling itself the Republic of Gilead—a Bible-thumping, racist, capital-punishing, and misogynistic rule that would do away with pleasure altogether were it not for one thing: that the Gileadan women, pure and true (as opposed to all the nonbelieving women, those who've ever been adulterous or married more than once), are found rarely fertile.
Thus are drafted a whole class of "handmaids," whose function is to bear the children of the elite, to be fecund or else (else being certain death, sent out to be toxic-waste removers on outlying islands). The narrative frame for Atwood's dystopian vision is the hopeless private testimony of one of these surrogate mothers, Offred ("of" plus the name of her male protector). Lying cradled by the body of the barren wife, being meanwhile serviced by the husband, Offred's "ceremony" must be successful—if she does not want to join the ranks of the other disappeared (which include her mother, her husband—dead—and small daughter, all taken away during the years of revolt). One Of her only human conduits is a gradually developing affair with her master's chauffeur—something that's balanced more than offset, though, by the master's hypocritically un-Puritan use of her as a kind of B-girl at private parties held by the ruling men in a spirit of nostalgia and lust. This latter relationship, edging into real need (the master's), is very effectively done; it highlights the handmaid's (read Everywoman's) eternal exploitation, profane or sacred ("We are two-legged wombs, that's all: sacred vessels, ambulatory chalices"). Atwood, to her credit, creates a chillingly specific, imaginable night-mare. The book is short on characterization—this is Atwood, never a warm writer, at her steeliest—and long on cynicism—it's got none of the human credibility of a work such as Walker Percy's Love In The Ruins. But the scariness is visceral, a world that's like a dangerous and even fatal grid, an electrified fence.
Tinny perhaps, but still a minutely rendered and impressively steady feminist vision of apocalypse.Pub Date: Feb. 17, 1985
ISBN: 038549081X
Page Count: -
Publisher: Houghton Mifflin
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: Jan. 15, 1985
SEEN & HEARD
BOOK TO SCREEN
A modern day fable, with modern implications in a deceiving simplicity, by the author of Dickens. Dali and Others (Reynal & Hitchcock, p. 138), whose critical brilliance is well adapted to this type of satire. This tells of the revolt on a farm, against humans, when the pigs take over the intellectual superiority, training the horses, cows, sheep, etc., into acknowledging their greatness. The first hints come with the reading out of a pig who instigated the building of a windmill, so that the electric power would be theirs, the idea taken over by Napoleon who becomes topman with no maybes about it. Napoleon trains the young puppies to be his guards, dickers with humans, gradually instigates a reign of terror, and breaks the final commandment against any animal walking on two legs. The old faithful followers find themselves no better off for food and work than they were when man ruled them, learn their final disgrace when they see Napoleon and Squealer carousing with their enemies... A basic statement of the evils of dictatorship in that it not only corrupts the leaders, but deadens the intelligence and awareness of those led so that tyranny is inevitable. Mr. Orwell's animals exist in their own right, with a narrative as individual as it is apt in political parody.
Pub Date: Aug. 26, 1946
ISBN: 0452277507
Page Count: 114
Publisher: Harcourt, Brace
Review Posted Online: Nov. 2, 2011
Kirkus Reviews Issue: Aug. 1, 1946
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